Nielsen (philosophy, U. of Calgary) presents a defense of naturalism as the most reasonable way to view humans place in the world. His naturalism is an atheistic and humanistic philosophy, but it is not a scientific or value-free one. He articulates a naturalistic explanation of the functions of religion and argues that truly understanding religion necessitates disbelief. He argues that a consistent atheism does not "rob life of its significance or make social and political commitment arbitrary." After explaining the theory he explains arguments for and against the theory as propounded by various other philosophers, most notably the work of Wittgenstein, which he believes to be the most serious philosophical challenge to secular naturalism. ~ Product Description
How can art enhance and enrich the Christian faith? What is the basis for a relationship between the church and visual imagery? Can the art world and the Protestant church be reconciled? Is art idolatry and vanity, or can it be used to strengthen the church? Grounded in historical and biblical research, William Dyrness offers students and scholars an intriguing, substantive look into the relationship between the church and the world of art. Faith and art were not always discordant. According to Dyrness, Israel understood imagery and beauty as reflections of God’s perfect order; likewise, early Christians used art to teach and inspire. However, the Protestant church abandoned visual arts and imagery during the Reformation in favor of the written word and has only recently begun to reexamine art’s role in Christianity and worship. Dyrness affirms this renewal and argues that art, if reflecting the order and wholeness of the world God created, can and should play an important role in modern Christianity.
Naturalists passively watched as realist versions of theism, most influenced by Plantinga’s writings, began to sweep through the philosophical community, until today perhaps one-quarter or one-third of philosophy professors are theists, with most being orthodox Christians. Although many theists do not work in the area of the philosophy of religion, so many of them do work in this area that there are now over five philosophy journals devoted to theism or the philosophy of religion, such as Faith and Philosophy, Religious Studies, International Journal of the Philosophy of Religion, Sophia, Philosophia Christi, etc. Philosophia Christi began in the late 1990s and already is overflowing with submissions from leading philosophers. If each naturalist who does not specialize in the philosophy of religion (i.e., over ninety-nine percent of naturalists) were locked in a room with theists who do specialize in the philosophy of religion, and if the ensuing debates were refereed by a naturalist who had a specialization in the philosophy of religion, the naturalist referee could at most hope the outcome would be that ‘no definite conclusion can be drawn regarding the rationality of faith,’ although I expect the most probable outcome is that the naturalist, wanting to be a fair and objective referee, would have to conclude that the theists definitely had the upperhand in every single argument or debate. God is not “dead” in academia; he returned to life in the late 1960s and is now alive and well in his last academic stronghold, philosophy departments.
A hand waving dismissal of theism, such as is manifested in the following passage from Searle’s The Rediscovery of the Mind, has been like trying to halt a tidal wave with a hand-held sieve. Searle responds to about one-third of contemporary philosophers with [a] brush-off… Searle does not have an area of specialization in the philosophy of religion and, if he did, he might, in the face of the erudite brilliance of theistic philosophizing today, say something more similar to the non-theist Richard Gale (who does have an area of specialization in the philosophy of religion), whose conclusion of a 422 page book criticizing contemporary philosophical arguments for God’s existence (as well as dealing with other matters in the philosophy of religion), reads ‘no definite conclusion can be drawn regarding the rationality of faith.’
Although the arts have played a significant role in both world history and Christian history, the contemporary church has often shunned them in favor of a more intellectual approach to theology. Beholding the Glory argues the necessity of renewing an engagement between theology and the arts. Specifically focusing on the incarnation, the book shows how the arts have an indispensable role to play in disclosing God’s wisdom. With an introduction by the editor, the book consists of eight essays written by practicing artists (a sculptor, poet, dancer, and musician), theologians, and professors-all well-versed in the relationship between imagination and theology. Beholding the Glory demonstrates the indispensable role the arts play in disclosing God’s wisdom to us. Writing from different Christian traditions, practicing artists, theologians, and professors-all well-versed in the relationship between imagination and theology-focus on the incarnation and draw out a wealth of meaning in the belief that God entered our world as one of us.
What if the most important word is the one in the middle? We often think of doubt as the opposite of faith, but could it actually strengthen our relationship with God? According to John Ortberg, best-selling author and pastor, the very nature of faith requires the presence of uncertainty. In this refreshingly candid look at a life of faith, he traces the line between belief and unbelief: less a dividing line between hostile camps than a razor’s edge that runs through every soul. His findings point us toward the relief of being totally honest. Questions can expand our understanding, uncertainty can lead to trust, and honest faith can produce outrageous hope. Written from Ortberg’s own struggle with faith and doubt, this book will challenge, comfort, and inspire you with the truth that God wants all of us — including our doubts.
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From the site: "Our worldview impacts all areas of life including the arts. The arts also reflect philosophical and cultural trends in human societies. If philosophical and scientific concepts of intelligent design (ID) are valid, we believe they will both inspire, and be reflected in, our art, music, literature and film. Much of the focus of the ID movement to date has been on left-brain activities (logical, sequential, rational, analytical, objective, focused on parts). We believe there is also a right-brain approach to the issues (more intuitive, focused on the creative process, standing back looking at the whole and not just the parts) that may speak to an even wider audience through the arts. Some people, who might never crack a science book, will grasp ID concepts through image, lyric, or prose."
Today, with hectic, work-centered lives, busy social calendars, and precious little free time, people feel obligated yet resentful while gathering with kin during the holidays. Granted, a nice seder or Christmas dinner isn’t in itself so unpleasant. If one could just arrive, shovel down the food as quickly as possible, then bolt for the door, such occasions would be tolerable. The problem is that for all denominations these feasts have been institutionalized in American culture; they’re compulsory, a sign of good citizenship and family values. This enforced proximity with blood relations naturally builds to a breaking point. There’s only so much you can hear about your batty aunt’s goiter. There are only so many times you can coo over the new baby or suffer small children poking action figures into your eyes. And don’t let’s start with your mother about when you’re finally going to get married! As breakfast drags on to brunch drags on to dinner, surrounded by family members, there’s this mounting revulsion that you share their same receding hairlines, their same tendency toward cellulite, their same horsy, nasal laughs, their very same DNA. That’s usually the trigger that sets you fleeing in fear and disgust.